U UNIVERSITY OF CINCINNATI Date: May 13, 2009 I, Lauren E. Williams , hereby submit this original work as part of the requirements for the degree of: Master of Arts in Art History It is entitled: Visualizing the Vampire: Carmilla (1872) and the Portrayal of Desire Lauren E. Williams Student Signature: This work and its defense approved by: Dr. Kimberly Paice Committee Chair: Dr. Diane Mankin Dr. Teresa Pac Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: Dr. Kimberly Paice Visualizing the Vampire: Carmilla (1872) and the Portrayal of Desire A thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Lauren E. Williams B.A. Miami University May 2009 Committee Chair: Dr. Kimberly Paice Abstract The vampire genre has been one of the most popular outlets for writing about sexuality and desire without explicitly stating it and more commonly vampirism has been used as an acceptable framework for portraying subversive themes. Lamia and Lilith, two of the earliest female vampire archetypes, in many ways initiated interest in the female vampiric figure notably through the works of nineteenth-century Pre-Raphaelite artists. -RVHSK6KHULGDQ/H)DQX¶V groundbreaking novella Carmilla (1872) furthered this idea in the medium of literature by introducing the first lesbian vampire type even if certain diversionary tactics were used to bracket the truly subversive theme. Roger 9DGLP¶V film Blood and Roses (1960) was the first adaptation of Carmilla DQGLWH[SDQGHGRQ/H)DQX¶VQRYHOODE\LQFRUSRUDWLQJWKHFRQWHPSRUDU\ film practice of European art cinema to further sublimate the sexual desire between the leading characters. This study provides a visual journey of desire in the framework of vampirism as well DVFRQWULEXWHVWRWKHVWXG\RIYDPSLUHVRXWVLGHWKHFRQWH[WRI%UDP6WRNHU¶VDracula (1897). By analyzing the origins of female vampirism through the literature and images of Lamia and Lilith, Blood and Roses and its source, Carmilla, the reader gains a greater understanding of the visual representation of the evolving female vampire in art, literature, and film. iii Acknowledgments This thesis could not have been possible with the support and assistance of many people. I must first and foremost thank my husband Kevin Williams who is my biggest fan and has encouraged me every step of the way to follow my dreams. His late night editing and proofreading as well as his constant love and encouragement helped me achieve my goals and finish this thesis. My deepest gratitude goes to my thesis advisor and mentor Dr. Kimberly Paice for her support, encouragement, and extremely helpful suggestions. As I deliberated on finding a thesis topic, I mentioned the idea of writing about vampires, unsure whether the topic would meet scholarly standards at UC, and from that moment on Kim was behind my research and ideas 100%. Her humor and constructive criticism were fundamental to the writing of this thesis. Sincere thanks go to my thesis committee members, Dr. Diane Mankin and Dr. Teresa Pac, whose outstanding editing and helpful insight provided additional methods in approaching the vampire genre. Visual resources librarian at DAAP and my graduate assistantship supervisor Elizabeth Meyer has been extremely kind and accommodating as I juggled work, classes, and this study. My fellow classmates and peer editors deserve a large amount of thanks as they provided support and comic relief through my final year of graduate school. iv Table of Contents List of Illustrations vi Introduction 1 Chapter 1: Lamia and Lilith: The Origins of the Female Vampire in Literature and Art 7 Chapter 2: Carmilla (1872): The Victorian Socialization of the Subversive Female Vampire 19 Chapter 3: Blood and Roses (1960): Realizing the Vision of Carmilla 35 Conclusion 55 Bibliography 59 Illustrations 63 v ILLUSTRATIONS Figure 1: John William Waterhouse, Lamia, 1905, oil on canvas, 57 x 36 in., Private Collection. Figure 2: John William Waterhouse, Lamia, 1909, oil on canvas, 36 x 22 ½ in., Private Collection. Figure 3: Herbert James Draper, Lamia, 1909-1910, oil on canvas, 50 x 27 in., Private Collection. Figure 4: Sumerian, Lilith, ca. 2000 B.C.E., terracotta relief, dimensions unknown, Private Collection. Figure 5: Greek, Succubus, 323-146 B.C.E., Hellenistic relief, dimensions unknown, courtesy of The Great Mother, Erich Neumann, Princeton, NJ: Princeton University Press, 1963. Figure 6: Dante Gabriel Rossetti, Lady Lilith, 1868, oil on canvas, 38 x 33 ½ in., Delaware Art Museum, Wilmington, Delaware. Figure 7: John Collier, Lilith, 1887, oil on canvas, dimensions unknown, Atkinson Art Gallery, Southport, England. Figure 8: Artist unknown, Portrait of Elizabeth Bathory, ca. 1585, oil on canvas, dimensions unknown, Cachtice Town Museum, Cachtice, Czechoslovakia. Figure 9: Michael Fitzgerald, Funeral, 1872, electrotype after wood-engraving, dimensions unknown, courtesy of Best Ghost Stories of J.S. Le Fanu, ed. E.F. Bleiler, New York: Dover Publications, 1964. Figure 10: D.H. Friston, Carmilla, 1872, electrotype after wood-engraving, dimensions unknown, courtesy of Three Vampire Tales, ed. Anne Williams, New York: Houghton Mifflin Co., 2003. Figure 11: D.H. Friston, Carmilla, 1872, electrotype after wood-engraving, dimensions unknown, courtesy of Best Ghost Stories of J.S. Le Fanu, ed. E.F. Bleiler, New York: Dover Publications, 1964. Figure 12: Philip Burne-Jones, The Vampire, 1897, medium unknown, dimensions unknown, location unknown. Figure 13: Edvard Munch, Vampire (Love and Pain), 1894, oil on canvas, 35.8 x 42.9 in., Private Collection. Figure 14: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. vi Figure 15: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 16: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 17: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 18: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 19: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 20: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 21: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 22: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 23: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. Figure 24: Blood and Roses, directed by Roger Vadim, 1960, film still, 74 min., Paramount Pictures. vii Introduction The vampire genre has been one of the most popular outlets for writing about sexuality and desire without explicitly stating it and more commonly vampirism has been used as an acceptable framework for portraying subversive themes. Two of the most prominent examples of this are found in nineteenth-century literature and twentieth-century film. Irish author Joseph 6KHULGDQ/H)DQX¶VQRYHOODCarmilla DQG)UHQFKILOPPDNHU5RJHU9DGLP¶VILOPBlood and Roses (1960) explore the female vampiric type, a relatively obscure subject in scholarship. While both novella and film were innovative for different reasons, each used vampirism as a way to portray female homoeroticism and desire. In light of a recent surge of the vampire theme in the popular imagination, the novella and film adaptation deserve further attention. This study examines the interrelationship between females and vampires and the role of desire in /H)DQX¶V Carmilla, as well as the first film adaptation of Carmilla, 9DGLP¶VBlood and Roses, and the ways in that desire between the two leading female characters, essential to the earlier novella, is sublimated and diverted into networks of surrealism and vampirism. Joseph Sheridan Le Fanu (1814-1873) was an Irish author known for his supernatural tales filled with mystery and suspense. Although he was heavily influenced by Gothic and Irish folklore, Le Fanu was able to turn the Gothic novel into a modern psychological thriller by focusing on the inner thoughts and emotions of the victim. Carmilla was first published in the British magazine The Dark Blue in 1872 and later that same year in In a Glass Darkly, a FROOHFWLRQRI/H)DQX¶VVKRUWVWRULHVCarmilla was his single endeavor into writing about vampires, but the novella exemplified many of the storytelling qualities he was known for as well as a venture into new territory with the character of a female vampire who solely preys on young women. 1 French filmmaker Roger Vadim (1928-2000) is famous for writing, directing, and producing over thirty films9DGLP¶VFDUHHUKDVRIWHQEHHQFRQVLGHUHGLQUHJDUGWRKLVKLJK profile marriages and biography, but little analysis has been offered of the actual stylistic and visual elements in his art films. Well known for his sexual fantasy films and famous wives, one RI9DGLP¶VJHQHUDOO\RYHUORRNHG works offered a brief foray into the realm of horror, somewhat outside the genre in which he typically worked. Et Mourir de Plaisir, released in the United States under the title Blood and Roses (1960), is RQHRI9DGLP¶Vart films and his only venture into the vampire genre. Due to restrictions placed on the film by the Hays Code of 1930, which deemed whether films were morally acceptable or not, Blood and Roses was released in the United States in a censored version minus thirteen minutes of erotic elements from the French release.1 Unfortunately, the French version is no longer available so the specific deleted elements are unknown. Blood and Roses was the first adaptation of /H)DQX¶VQRYHOODCarmilla, which followed the story of two friends, Laura and Carmilla, and their relationship. Like Carmilla, Blood and Roses explored a relatively new theme in the horror genre ± that of the female vampire, which became even more popular in the vampire films of the 1970s.